Indian Antiquary Vol 58

Author(s): Richard Carnac Temple, Charles E A W Oldham, S Krishnaswami Aiyangar, Devadatta Ramkrishna Bhandarka
Publisher: Swati Publications

Page 259

JANUARY, 1929]
NOTES ON THE SEVEN PAGODAS
a sling containing the sacrificial platter of wood, which one of the disciples has washed and put together to carry home to the hermitage, while his companion carries on his shoulder & vessel of water.
There is in a cave a little to the south of the Ganesa Ratha, a relief exhibiting the man-boar according to the Vaikanasdgama. Of the three kinds of boar form, this is what is called the Adivardha type. This must be exhibited with four hands, two of them carrying the conch and the disc; the colour gra3d-green, left foot planted upon the hooded head of the king of the serpents (flsha).
The figure of Bhůvaráha should have, according to the Vaikānasagama, the face of a boar in association with the body of a man. It has four arms, two of which hold the sankha and chalra as usual. The right leg should be slightly bent and be made to rest upon the jewelled hood of the mythical serpent Adiśêsha, who must be sculptured as in company with his wife. Of the recraining two hands, the left hand should be shown as supporting the legs of Bhumidêvi, seated on the god's bent right leg, with her own legs hanging down, while the right hand has to be thrown round the waist of the same goddess. The boar face of the god should be slightly tilted up, so as to make the muzzle approach the bosom of the goddess as though he is engaged in smelling her.8 The colour of the image of Varaha-Vishnu is represented by the darkness of the twilight. The 28sociated figure of Bhamid@vi should have her hands in the anjali attitude. She should be decked with flowers and dressed in clothes and should be adorned with all suitable ornaments. Her complexion has to be black. Her face should be slightly lifted up and turned towards her lord, and should be expressive of shyness and joy. The top of her head should reach the chest of the figure of Vardha, and her image should be made in accordance with the panchatala measure. Such is the description given in the Vaikhanasdgama. (Mr. T. A. Gopinatha Rao's Hindu Iconography, pp. 132-3).
The Trvikrama panel in the same cave (Plate 17).-The image of Trvikrama may be sculptured it is said, in three different ways, namely, with the left foot raised up to the level of the (1) right knee, or (2) to the navel, or (3) the forehead. These three varieties are obviously intended to represent Trvikrama as striding the earth, the mid-world and heavenly. world respectively; and are all exemplified in sculptures also. The image of Trvikrama, with the left foot lifted up only to the level of the right knee is, however, rarely met with among available pieces of sculpture. The rule is that Trvikrama images should be worked out in accordance with the uttamadasa-tala measure, and their total height should be 124 angulas. Trvikrama should have either four or eight hands. If there be only four arms, one of the right hands should be made to hold the tankha and one of the left hands the chakra: or it may even be that the left hand carries the chakra and the right hand the bankha. The other right hand should be heid up with the palm upwards and the other left hand stretched out parallel to the uplifted leg; or this right hand may be in tho abhaya or the varada pose. On the other hand, if Trvikrama is sculp. tured with eight arms, five of the hands should carry the sankha, chakra, gada, adinga (bow) and hala (plough), the other three being kept as in the previous instance. The right leg of Trvikrama is to be firmly planted upon the earth; and the left should be used in taking the stride of world-measure. The colour of the image is to be dark as that of the rain cloud ; it should be clothed in red garments and decorated with all ornaments. Behind it there should be sculptured the tree called kalpaka, and Indra should be shown holding over Trvikrama's head an umbrella. On either side Varuna and Vayu should be made to wave chámaras; and over them on the right and the left there should be the figures of Sûrya and Chandra respectively. Near these again there should be seen
.32 This attitude of amorous dalliance is sometimes described, of course absurdly enough, as playing the baby at the breast,